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Exercise PRECISE RESPONSE, is an annual chemical, biological, radiological, and nuclear (CBRN) exercise hosted by Defence Research and Development Canada at Canadian Forces Base Suffield where the Canadian Armed Forces along with NATO allies and partner Nations can practice essential CBRN defence skills in a multinational training environment.
Public Domain Book: The history of magic : including a clear and precise exposition of its procedure, its rites and its mysteries
by Lévi, Eliphas, 1810-1875
Published 1922
Public Domain Book: The history of magic : including a clear and precise exposition of its procedure, its rites and its mysteries
by Lévi, Eliphas, 1810-1875
Published 1922
"Brit uses precise words - and stunning images - to explain far beyond one's expectations the immaterial and complex processes, sensations, ideas, recollections, and feelings of the mosaic creative process. Mosaic: Finding Your Own Voice is the first, unique book to capture and explain the subliminal essence of 21st century mosaic art." - Françoise Moulet
Featured on p. 86 of MOSAIC: FINDING YOUR OWN VOICE.
Photo: artist.
Image shown with permission.
Exercise PRECISE RESPONSE, is an annual chemical, biological, radiological, and nuclear (CBRN) exercise hosted by Defence Research and Development Canada at Canadian Forces Base Suffield where the Canadian Armed Forces along with NATO allies and partner Nations can practice essential CBRN defence skills in a multinational training environment.
This is an elbow My elbow to be precise. This was taken by me on my cell phone the morning after six-and-a-half hours of surgery, drugged out of my mind. As bad in quality as it is, I think you get the gist.
I put this up to force myself to accept the fact that I'm having surgery within the next month (to remove all the bling). I want it, mind you; I need it. But I'm being a bit of a wuss, loathe to let them cut into my arm. Loathe also to be without the camera for whatever length of time...
UPDATE: Surgery is scheduled for Friday, 14 March at noon on an outpatient basis unless there are unforeseen complications (in which case i'll be admitted). In Paris (thank you, Wouter, for pushing me to go where I was more comfortable). Estimated time of departure, 9:00 p.m.
Best of all, I may get somebody I know as the anesthesiologist, somebody I've gotten in many discussions about cycling with. He's one of the few frenchman I've met that actually likes/respects Lance Armstrong. If I can talk about Vino et al whilst he's doing a block on my arm, I will be a happy bunny. I am easily distracted when it's something I am passionate about!
Exercise PRECISE RESPONSE, is an annual chemical, biological, radiological, and nuclear (CBRN) exercise hosted by Defence Research and Development Canada at Canadian Forces Base Suffield where the Canadian Armed Forces along with NATO allies and partner Nations can practice essential CBRN defence skills in a multinational training environment.
With precise attention to detail and using dimensions and specifications from the original rifle, the craftsmen at Turnbull Mfg. Co have re-created one of the most famous Winchester rifles ever produced. The production of this “TR Model 1876” will be limited to no more than 25 rifles. Each rifle will be individually numbered TR01-TR25 and will come in a custom display case. A portion of the proceeds from the sale of each rifle will benefit the Doug Turnbull Restoration Conservation Laboratory at the National Firearms Museum. Specifications: 45-75 caliber, button magazine, fancy pistol grip butt stock, 28" 1/2 round, 1/2 octagon barrel, steel grip cap, cheek piece stock, H-pattern checkering, checkered steel buttplate, Freund rear sight, sporting front sight, gold inlaid stock oval, color case hardened receiver.
Italy district
builds its frames with slow, precise movements that do little to encourage visitors to engage in idle chatter.
In the second room, which is as small as the first but still completely tidy, his son Jacques assembles a bicycle or repairs one belonging to a loyal customer. His wife ties or tightens the spokes on a wheel. Around them, there are never more than two or three people who are not ‘part of the service’. The conversations are those of connoisseurs. They know about gears. They have tried out the equipment. No, always in the utmost calm, they simply exchange a few bits of gossip about the latest races, those they have just competed in or watched on television.
Henri Depierre joined a bicycle manufacturer in Le Tréport at the age of fifteen. Even then, he was interested in racing frames and made a few at home, thanks to the advice of a specialist craftsman who had worked for a reputable frame manufacturer.
From 1940 to 1946, he competed in races as an amateur and moved to Paris, supplying custom-made frames to several frame manufacturers.
Then came the crisis of the 1950s for the bicycle industry, caused by the success of mopeds and the development of the automobile. After spending a few months at Arliguie, where he set up a workshop, Henri Depierre changed careers and began manufacturing... floor lamps.
In 1967, when his son finished his military service, he decided to set up his own business as an independent craftsman and builder. The seriousness of his design and construction methods and the new boom in cycling ensured the success of his company.
The frame design
Henri Depierre believes that the best way to make beautiful frames is to love your craft and to perfect your skills. It's a recipe that works as well as any other. But you still need to study the optimal dimensions and find a style. That's what he did, ‘like Chapman did for Lotus’, as one of his friends likes to say.
What is the ‘Gemini’ style?
It is based on two simple ideas:
- the angle of the seat tube depends primarily on the length of the femur, and does not simply vary according to the height of the frame;
- the design of the steering system has a decisive influence on the bike's handling on long descents.
(continued on p. 35)
OUR CLIENT'S CHEVROLET CORVETTE C6 GRAND SPORT WITH 19/20" COR PRECISE CONCAVE WHEELS. WWW.WHEELSPERFORMANCE.COM
Monchichilove to be precise!
Monchhichilove has been helping me find Snorks within my budget and has sent me these two! Were these ones yours or did you find extra Monchichilove?
Sadly the close up photo of this pair went wrong but you can be sure that this pair will feature in plenty of photos yet to come.
I was impressed enough with just the pretty box!
Someone is missing... I had been cuddling and adorable worm Flibbie and forgot to let him wiggle into the shot. He needs his own photo...
Thank you so much xx This was an absolute joy to receive :O)
. . . this photo is not taken in a photo studio! It´s an snapshot.
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Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
Cette photo a une histoire
D'abord, il faudrait préciser que je ne shoote que rarement des gens, et quasiment jamais des inconnus. Mais là, ce jeudi 10 mars 2011 au Musée d'Orsay*, quand elle a passé la porte vers la sortie, j'ai aussitôt été fascinée par son visage de porcelaine, son allure intemporelle. Je lui ai demandé la permission, elle a hoché la tête en souriant, j'ai cliqué une fois pour ne pas abuser.
J'aurais préféré qu'elle ne sourit pas, pour accentuer son air de poupée de collection. Mais comment deviner que, le lendemain, le monde qu'elle connaissait allait disparaitre dans la fureur de la Terre et des eaux.
Je pense à toi, jeune amie souriante, pour moi tu resteras le symbole de ton peuple courageux.
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this picture has its own history.
You must know that I usually dont shoot people, and never unknown people But, on march ten 2011 in the Orsay museum*, as she went out the door to leave, I was immediately fascinated by her porcelain face, her timeless style. As I asked for her agreement, she simply nodded with a smile. I took only this one shoot, to avoid any unpleasant insistence.
I had better without her smile, to insist on her porcelain doll look. But I couldn’t guess that the day after her beloved country would be so close to the point of no return under the fury of Earth and waters.
I think of you, smiling young friend, for you will remain for me the symbol of your sturdy, courageous people.
*Paris (France)
This is a component for a nanofactory.
A device to lock out arbitrary shaped micro-components from a practically perfect vacuum (green)** to a gas or liquid filled environment (red) without letting a single molecule of the medium back in. The device needs to be atomically precise with atomically flat piston surfaces. As of 2015 this device is not yet producible.
** Practically perfect vacuum is a requirement for mechanosynthesis of diamond. Although it is not yet possible to attain such a vacuum in today’s ultra high vacuum (UHV) vessels (which are in the meter scale and have imperfect steel walls which adsorb gas molecules) estimative calculations show that practically perfect vacuum certainly will be possible in microscopic atomically precise vessels made from gemstone like materials.
CC-BY Lukas M. Süss aka mechadense
"Your artistic interpretation should be inspired by another artisan's handmade work. Literal or interpreted."
Close-up shot of foot being measured with help of digital orthopedic device giving precise data of footstep for creating perfect-fitting shoes
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
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The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
WIKIPEDIA & WIKIMAPIA
Angling for the precise dosage… Hospital Corpsman 2nd Class Brittany Vain ensure the exact dosage of COVID-19 vaccine is readied as she takes part in providing the vaccination at Navy Medicine Readiness and Training Command (NMRTC) Bremerton, Dec. 29, 2020. Vain, along with precentive medicine technicians and others administered initial doses of the vaccine to frontline health care workers, along with other first responders, emergency medical services personnel, security forces, and other essential workers. An initial shipment of the Moderna COVID-19 vaccine that received emergency use authorization (EUA) from the U.S. Food and Drug Administration arrived at NMRTC Bremerton on Dec. 22, 2020, with vaccinations starting the day after. In conjunction with Centers for Disease Control and Prevention (CDC), the Department of Defense (DoD) distribution plan for administering the vaccine at military medical treatment facilities like NMRTC Bremerton calls for prioritizing through a phased approach to vaccinate all active duty and reserve components, TRICARE Prime and TRICARE Select beneficiaries, and select DoD civilians and contract personnel authorized to receive immunizations from DoD (Official Navy photo by Douglas H Stutz, NHB/NMRTC Bremerton public affairs officer).
San Xoan na Coruña... calquera que o vivira unha vez ha querer repetir. Anualmente.
Son centos as fogueiras que arden nesa noite máxica, e son literalmente decenas de miles de persoas as que se xuntan na praia para queima-lo pasado á espera dun futuro mellor como manda a tradición.
Que se cumplan os vosos desexos.
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St. John in A Coruña... anyone who has ever lived this will want to repeat. Every year.
There are hundres of fires burning in that magic night, and there are, literally, tens of thousands of people gathering on the beach to burn the past, hoping for a better future as tradition says.
May your wishes come true.
The data we collect during formative assessment helps us to be more precise with our teaching because we can deliver the needed instruction to the students who will most benefit.
Small group instruction is far better than whole class.
I've always been more of a ruler and compass boy than an arty watercolour type - hence at school, I was good at Technical Drawing, bad at painting.
I also love well engineered things.
This is a set of mathematical instruments that belonged to my father - he gave them to me years ago, and I used them at school in the 70s / 80s.
They date back to approximately 1940-1950. A G Thornton was one of the largest manufacturers of drawing instruments and slide rules in Britain - the company closed in 1995.
See us large here
Exercise PRECISE RESPONSE, is an annual chemical, biological, radiological, and nuclear (CBRN) exercise hosted by Defence Research and Development Canada at Canadian Forces Base Suffield where the Canadian Armed Forces along with NATO allies and partner Nations can practice essential CBRN defence skills in a multinational training environment.
Because the bite is precise, the case just flows so easy! A new smile and no more headaches or TMD pain is an everyday reality for our San Antonio patients.
The stained glass at a cathedral in eastern France will no longer produce a distinctive green ray seen just twice a year, on the spring and autumn equinoxes, after the precise pane was replaced during a recent renovation.
www.france24.com/en/live-news/20220322-strasbourg-cathedr...
Admirers learned of its loss when they hoped to see the phenomenon at exactly 4:33 pm on Sunday, when the Earth's axis was directly perpendicular to the sun -- marking the first day of spring.
But the website of Strasbourg's gothic cathedral warned visitors that, as of March 16, the pane's replacement meant there would no longer be any "green ray" illuminating a stone carving of a crucified Christ.
The light had fuelled speculation of a divine blessing on the cathedral completed in 1439, with hundreds of people coming to witness the twice-yearly event, though church officials insisted it was a pure coincidence of celestial geometry.
The stained-glass window in question was installed in 1876, and the sun would pass through the left foot of Judah, a son of Jacob, to produce the famous ray.
Faced with the outrage caused by the disappearance of the famous green ray visible during the equinoxes in the cathedral of Strasbourg, the regional direction of cultural affairs explained in a statement: a reversible patina has been affixed to the foot of Judah pending a final restoration of the stained glass.
Faced with the indignation of many people, the regional direction of cultural affairs of the Grand Est (DRAC) has explained in a statement about the disappearance of the famous green ray of the cathedral of Strasbourg.
"A reversible patina has been affixed to the transparent glass, in March 2022, by the regional conservation of historical monuments on behalf of the State owner of the cathedral, in agreement with the clergy affectionate worship of the building and the foundation of the Oeuvre Notre-Dame, "said the DRAC in this statement.
A complete restoration of the stained glass window representing Judah is planned later and should be entrusted to a master glassmaker. It is the light of the sun, which by crossing this stained glass at the level of the foot of Judah, one of the ancestors of Christ, caused the appearance of a green ray twice a year during the autumn and spring equinoxes. This luminous phenomenon lasted a few minutes at the end of the morning and was repeated for about a week.
The indignation of the "discoverer" of this green ray in 1972
The stained glass windows of Strasbourg Cathedral, getting damaged with time, are regularly restored. The latest work undertaken by the DRAC concerns the stained glass windows located in the south of the religious building. It is within this framework that the stained glass window of the green ray has been partially restored.
It is moreover following a restoration dating from 1972, that the green ray appeared for the first time. The foot of Judah would have been replaced by a raw glass and thus transparent allowing the passage of light. It is an engineer-geometer, Maurice Rosart who first discovered this phenomenon.
The latter has also expressed his deep dissatisfaction. "This act is a bad blow to the people of Strasbourg, to culture, to secularism, to the lights", he deplored, recalling that a cover had already been briefly affixed in the spring of 1990 on the stained glass, preventing the ray from forming.
A disappearance which makes decidedly grind teeth since a Strasbourgeois, Julien Laurent, decided to launch a petition so that the green ray is restored. For him, "the green ray should benefit specifically from a classification and a protection as a historical monument, given its extraordinary aspect.
It must be said that this famous green ray has fueled polemics for years, between supporters of esoteric explanations and religious authorities, who only see the malicious and ingenious hand of the human being.
Devant l'émoi suscité par la disparition du fameux rayon vert visible durant les équinoxes au sein de la cathédrale de Strasbourg, la direction régionale des affaires culturelles s'est expliquée dans un communiqué : une patine réversible a été apposée sur le pied de Juda en attendant une restauration définitive du vitrail.
Devant l'indignation de bon nombre de personnes, la direction régionale des affaires culturelles du Grand Est (DRAC) s'est expliquée dans un communiqué concernant la disparition du fameux rayon vert de la cathédrale de Strasbourg.
"Une patine réversible a été apposée sur le verre transparent, en mars 2022, par la conservation régionale des monuments historiques au nom de l’État propriétaire de la cathédrale, en accord avec le clergé affectataire cultuel de l’édifice et la fondation de l’Œuvre Notre-Dame", a précisé la DRAC dans ce communiqué.
Une restauration complète du vitrail représentant Juda est prévue plus tard et devrait être confiée à un maître verrier. C'est la lumière du soleil, qui en traversant ce vitrail au niveau du pied de Juda, un des ancêtres du Christ, provoquait l'apparition d'un rayon vert deux fois par an lors des équinoxes d'automne et de printemps. Ce phénomène lumineux durait quelques minutes en fin de matinée et se répétait durant environ une semaine.
L'indignation du "découvreur" de ce rayon vert en 1972
Les vitraux de la cathédrale de Strasbourg, s'abîmant avec le temps, font régulièrement l'objet de restauration. Les derniers travaux entrepris par la DRAC concerne les vitraux situés au sud de l'édifice religieux. C'est dans ce cadre que le vitrail du rayon vert a été en partie restauré.
C'est d'ailleurs suite à une restauration datant de 1972, que le rayon vert est apparu pour la première fois. Le pied de Juda aurait été remplacé par un verre brut et donc transparent permettant le passage de la lumière. C'est un ingénieur-géomètre, Maurice Rosart qui a découvert le premier ce phénomène.
Ce dernier a d'ailleurs fait part de son profond mécontentement. "Cet acte est un mauvais coup porté aux Strasbourgeois, à la culture, à la laïcité, aux lumières", a-t-il déploré, rappelant qu'un cache avait déjà été brièvement apposé au printemps 1990 sur le vitrail, empêchant le rayon de se former.
Une disparition qui fait décidément grincer des dents puisqu'un Strasbourgeois, julien Laurent, a décidé de lancer une pétition pour que le rayon vert soit rétabli. Pour lui, le "rayon vert devrait bénéficier spécifiquement d'un classement et d'une protection au titre des monuments historiques, compte tenu de son aspect extraordinaire."
Il faut dire que ce fameux rayon vert alimente les polémiques depuis des années, entre partisans d'explications ésotériques et les autorités religieuses, qui n'y voient que la main malicieuse et ingénieuse de l'être humain.
france3-regions.francetvinfo.fr/grand-est/bas-rhin/strasb...
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Des soldats de l’Armée canadienne et des partenaires internationaux ont effectué un entraînement d’intervention en cas de contamination chimique, biologique, radiologique et nucléaire avec l’armée américaine dans le cadre de l’exercice PRECISE RESPONSE 2022 à la BFC Suffield.
Such a nice, precise formation of Blue Angels' F/A-18Cs under puffy overcast. Hope you can enjoy.
Just one of my growing album of MCAS Miramar 2019 Airshow photos. The album link is flic.kr/s/aHsmKansm8 .
PHOTO CREDIT: Joe A. Kunzler Photo, AvgeekJoe Productions, growlernoise-AT-gmail-DOT-com
The photo is made in the 1920s just outside Halfweg, on the Zwanenburg site (Halfweg and Zwanenburg are a twin village).
Precise location
We are looking at the corner Lindenlaan / Zwanenburgerdijk. Behind the people there is indeed a canal: the Ringvaart, with a metal swing / swivel bridge.
Who are these people?
It is very likely that among the people on this photo there are members of the Halfweg Sport Club (HSC) De Bataaf. Or people who will start that club in 1923.
The bike at the right, of the smoking man with a hat and watch chain, has brakes and is of Dutch built. The three in the middle have no brakes, which makes them racing bikes. I am not totally sure if the bike at the left has a brake or not. Probably also not .
The cyclist in the middle, in the darker suite, is my grandfather Frits Wiersma.
Church
In the background you see the RK Church of Halfweg at the Kerkplein (Church Square). The church was demolished around 1931 and later the square was renamed 'Doctor Baumannplein' (a local G.P.).
December 2010 it was in the newspapers that the new RK Church, build at the same square in 1929, also has to disappear. The deferred maintenance alone is estimated at 1.6 million euros. And for ordinary maintenance, and improving the foundation is no money. So, of the three (typical) churches in the village, only 'De Kleine Kerk' (= 'The Little Church') will be left.
The chimney is that of the steam powered pumping station Rijnland .
The buildings you see at the right are shops, not a factory, with cafe Greeven on the corner right. You could drink Amstel Beer over there.
A bit more about Halfweg
The little village Halfweg lies about 8 km east of Haarlem, approximately halfway between Haarlem and Amsterdam in the Dutch province of North-Holland.
In 1632, the Haarlemmertrekvaart, a canal from Amsterdam to Haarlem, opened for passenger traffic by towed barges (trekschuit). At the halfway point the passengers needed to disembark and change boats.
In the 1860s a sugar beet factory opened in Halfweg. It closed in 1991. Silo's of the factory are now in use as office buildings.
About the Ringvaart
The Ringvaart (short for 'Ringvaart of the Haarlemmermeer Polder' and Dutch for 'ring canal') is a true circular canal surrounding the Haarlemmermeer polder. It was completed in 1845.
It forms the border between Halfweg and Zwanenburg.
About pumping station Rijnland
A pumping station with two large Babcock and Wilcox steam boilers. It is the oldest still operational steam-powered pumping station in the world.
It was built in 1853 and served as the pumping station for the basin of the polder, pumping excess water from the belt canal of the Haarlemmermeer to the IJ and later from there to the North Sea Canal. This took place at the rate of 25,000 liters a second ! I suppose that the pumps & boilers made quite some noise.
About 'H.S.C. de Bataaf'
The Cycling Club De Bataaf started in March 1923. The name 'De Bataaf' refers to all the day labourers which worked in the sugar industry in and around Halfweg. Most of them came from Brabant, a province in the South of The Netherlands. Strong people with much love for and knowledge of the cycling sport.
These Brabanders came from the South just like the Batavians (Batavieren) in the Roman Times, the founders thought. That's why they choose the name 'De Bataaf'.
In the early days of De Bataaf their members did more racing on cycling tracks ('the oval') then on the road. In the 1920s they even built a wooden, noisy track in Zwanenburg with the nickname The Blown Down Fence ('De omgewaaide schutting').
So it is not strange to see some track bicycles on this photo.
A special thanks to all the people at 'www.Zoekplaatjes.nl', and a specially Gerard van der Bijl. They identified the place where this photo was taken behind any doubt. It took them less then two months!
I keep looking for answers to questions like:
- Who everybody is; and
- Why & When this photo was taken.
October 2008
Private Photo
0108
Original capture
1920s. Industrial environment. Chimney with crosses. Church tower. Several caps with a badge. Different badges. Badge of the 2th biker from the right shows a lion. Could be Germany, Belgium or France. Not The Netherlands is my feeling (I don't know why).
Update September 2008
There is water between this group and the factory, probably a canal or a port. Behind the people at the right you can see the mast of a ship.
There are indeed characters on the roof (the blacker spot directly above my grandfather). They seem to be of different sizes and partly underlined.
The motor cyclist left is recognized as a sportsman regularly driving around Assen, a town in the Dutch province of Drente.
There is an other photo with the man at the right behind the motor cyclist in the collection of my grandfather dated summer of 1920.
That makes the number of known Dutchmen three. So Andre, plus a Dutch bike I think you are right: this must be The Netherlands.
Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.
Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.
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The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.
Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.
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